Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.

Thesonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone.Giovannino(=Little, or Young John) must have been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, beassumed to be their author.

The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino(=Little Violone, or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or abass Viol, and not necessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intendedharmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)

The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It isopen to debate whether a Violone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenthcentury traditions that

SKU: BR.OB-5198-23

revised new edition of score and orchestral parts

ISBN 9790004330500. 10 x 12.5 inches.

Dvorak's masterpiece is now even more practicalDvorak's Symphony From the New World, considered his opus summum by many, is one the most widely performed of all symphonies. The edition already published in 1990 by Breitkopf & Hartel has been established internationally as an authoritative edition not least because it is based on parts first used in the 1893 New York premiere. This very revealing source had until then been considered lost.The new edition now published in large orchestral format (25.0 x 32.0 cm), still has in store, however, quite a few further additions and improvements: The layout of the string parts is now more practically oriented; the well-known (ever repeated) problems of page turns in the earlier editions could also finally be solved. The trombone parts I/II notated to date in the alto clef (as done by Dvorak) are reproduced according to present-day orchestral practice in the tenor clef.

Revised new edition of score and orchestral parts.

SKU: HL.438839

UPC: 852940000929. 5.25x19.5x2.5 inches.

With the Carl Martin Quattro being so popular throughout the years, Carl thought to himself, “I could really use that same sort of high quality, straight forward, simple to use package for my acoustics as well”. The Acoustic GiG begins with Carl Martin's award winning Compressor/Limiter circuit. Individual controls for compression and level allow for simple and easy operation. Next, is the well known and highly respected Vintage Style Echo with controls for level, tone, repeat and tap-tempo, plus the 'Dotted 8th Note' switch for the most beautiful musical echo. The Reverb is a new Analogue/Digital Hybrid, tailored after the vintage-style spring reverbs so suitable for guitar. A beautiful, shimmering, yet warm reverb with the added bonus of becoming a more modulation/chorus/reverb texture at higher settings. The Boost simply allows you to cut though the mix with a crystal clean volume increase of up to 15dB for your solos. No change in your tone, and no increased 'quackiness' from your piezo pickups! To gain maximum EQ shaping, we found it necessary to include a high quality semi parametric EQ. We incorporated this section directly from Carl Martin's famous 3 Band Parametric Pre-Amp which allows for the specific shaping of tone from your guitar and pickup. To avoid potential feedback, practice has show the use of a phase inverter circuitry to be very efficient... so of course the Acoustic GiG has a Phase Shift switch. To complete the Acoustic GiG, we have incorporated a tuner and a overall mute switch. On the back panel are all the needed connections, 1/4″ input, unbalanced 1/4″ output, high quality balanced XLR out with ground lift, an insert section placed right after the boost and before the EQ section, and 9V DC input with a direct DC output if you find the need for an extra pedal.

SKU: HL.645921

ISBN 9781495082153. UPC: 008148009510. 9.0x12.0x0.128 inches. Book/Online Audio.

This series of sacred solos includes favorite hymns, gospel songs, spirituals and sacred music from classical repertoire. The selections have been made to appeal to students of all ages and also with regard to popularity in many different churches. Some of the hymn tunes may be known with different titles and lyrics. Duet accompaniments offer many possibilities for recitals and Sunday school participation. The duets help provide valuable rhythmic training and ensemble experience. Duets are recommended for use at home as well as at the lesson. Level 1 includes: Amazing Grace * Beneath the Cross of Jesus * Christ the Lord Is Risen Today * Hallelujah Chorus (Handel) * I Love to Tell the Story * Nearer My God to Thee * Now Thank We All Our God * Onward Christian Soldiers * Praise to the Lord * Song of Joy (Beethoven) * What a Friend We Have in Jesus.

SKU: BT.DHP-1115196-140

9x12 inches. English-German-French-Dutch.

Christmas is a festival of joy, so why not celebrate this time of the year with a swinging festive piece? Christmas Surprise will both surprise and delight your audience. Peter Kleine Schaarsâ?? medley, featuring well-known songs, will be an exciting highlight at your next Christmas concert!

Kerst is een feest van vreugde. Dat moet ook Peter Kleine Schaars hebben gedacht toen hij dit stuk in vrolijke swingstijl schreef. Speciaal voor de mooiste dagen van het jaar arrangeerde hij uit de bekendste kerstliederen een vlottemedley. Een verfrissende verrassing voor elk kerstconcert!

Weihnachten ist ein Fest der Freude - warum also nicht einmal mit einem Stück im fröhlichen Swing-Stil die schönste Zeit des Jahres feiern? Peter Kleine Schaars' flottes Medley aus den bekannten Liedern Good King Wenceslas, O Come All Ye Faithful, We Three Kings, A La Nanita Nana, Away in a Manger, Once in Royal David's City, Es ist ein Ros' entsprungen und The First Nowell ist ein wunderbares, frisches Highlight für jedes Weihnachtskonzert!

Noël est une fête rayonnante dâ??allégresse, alors pourquoi ne pas exprimer cette exaltation par une joyeuse composition écrite dans un style swinguant ? Peter Kleine Schaars nous livre les plus beaux chants de Noël dans un rafraîchissant arrangement. Une pure merveille pour chacun de vos concerts de Noël.

Natale è una festivit che trasuda allegria, quindi perché non esprimere questa gioia attraverso una composizione scritta in stile swing? Peter Kleine Schaars ha arrangiato i più bei canti natalizi (Good King Wenceslas, O Come All Ye Faithful, We Three Kings, A La Nanita Nana, Away in a Manger, Once in Royal Davidâ??s City, Es ist ein Rosâ?? entsprungen) in maniera fresca e innovativa.

SKU: BT.DHP-1043752-010

English-German-French-Dutch.

Composer Modest Moussorgsky (1839-1881) came from the prosperous environment of Russian nobility. In 1865, after his officer’s education, he joined the guard’s regiment in St. Petersburg. Here he met a number of well-known colleague-composers, including Balakirev, Cui, Rimsky- Korsakov and Borodin. They strived to develop a “classical style” of composing while at the same time retaining a strong Russian influence. His opera Boris Godunov tells the tale of Boris, who with the support of the people, declared himself Tsar, but totally fell short of the role. The opera became popular in the re-orchestrated version produced by Rimsky-Korsakov in 1896. Tohru Takahashi has usedthe beautiful musical themes of this opera in Selections from Boris Godunov - a captivating work for concert band.

Moussorgsky’s opera Boris Godunov - gebaseerd op het gelijknamige drama van Aleksandr Pushkin (waarin Boris Godunov zichzelf met steun van het volk uitroept tot tsaar, maar in deze rol compleet tekortschiet) - werd populairin de bewerking die Rimsky-Korsakov in 1896 maakte. De oorspronkelijke partituur van Moussorgsky staat echter vol originele vondsten en vooruitstrevende harmonische, melodische en instrumentale details. Tohru Takahashi gebruiktede prachtige muzikale thematiek van deze opera in Selections from Boris Godunov - een boeiend werk voor harmonieorkest.

Sein Meisterwerk, die Oper Boris Godunow, schrieb Mussorgski auf der Grundlage des gleichnamigen Dramas von Alexander Puschkin. In diesem Stück erklärt sich Boris Godunow mit Unterstützung des Volkes selbst zum Zaren, versagt aber kläglich in dieser Rolle. Das Werk ist voll von einzigartigen Ideen und damals sehr innovativen harmonischen, melodischen und instrumentalen Details. Tohru Takahashi verwendete in Selections from Boris Godunov die wunderschönen musikalischen Themen der Oper - ein bezauberndes Werk für Blasorchester.

Compositeur essentiellement autodidacte, Modest Moussorgski (1839-1881) descend d’une famille aisée de la noblesse russe. Son chef-d’œuvre lyrique Boris Godounov est basé sur la tragédie d’Alexandre Pouchkine, dans laquelle Boris Godounov, tsar autoproclamé et soutenu par le peuple faillit son rôle. En 1896, l’opéra connaît le succès dans une version retouchée par Rimski-Korsakov. La version originale de Moussorgski contient cependant des idées uniques, des détails harmoniques, mélodiques et instrumentaux innovateurs. Pour réaliser cette pièce captivante pour Orchestre d’Harmonie, Tohru Takahashi a rassemblé les superbes thèmes musicaux de l’opéra.

Compositore essenzialmente autodidatta, Modest Mussorgski (1839-1881) discende da una famiglia agiata della nobilt russa. Il suo capolavoro lirico, Boris Godunov, si basa sulla tragedia di Alexander Puschkin, nella quale Boris Godunov, proclamatosi zar e sostenuto dal popolo, fallisce nel suo ruolo. Nel 1896, l’opera conosce il successo in una versione ritoccata da Rimski Korsakov. La versione originale di Mussorgski contiene idee uniche, dettagli armonici, melodici e strumenti innovativi. Per trascrivere questo brano per banda, Tohru Takahashi ha raccolto i superlativi temi musicali dell’opera.

SKU: HL.267695

The magnificent interweaving of harmonies and dialogue-like Voices in Handel s For Unto Us A Child Is Born make it a perfect addition to the festive choral repertoire. German-born, British Baroque composer George Frideric Handel originally composed this piece in 1741, for the English-language oratorio Messiah, which eventually became one of the best-known and most frequently performed choral works in Western music. As the last song of Scene 3 of Part I of the oratorio, which addresses Isaiah's specific prophecy about the virgin birth of a Messiah, For Unto Us A Child Is Born tells the news of Christmas, the birth of a son, in Isaiah s words as found in the Scripture (Isaiah 9:6). The delicate, familiar theme is introduced by the Sopranos and taken up by their counter-voices, the Tenors, later the same dialog is given over to the Altos and Basses. The tutti culminates in Wonderful, Counselor, The Mighty God, The Everlasting Father and The Prince of Peace.